David Edelstein
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For 1,627 reviews, this critic has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 3.8 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 A Hard Day's Night (re-release)
Lowest review score: 0 Domino
Score distribution:
1,627 movie reviews
    • 76 Metascore
    • 80 David Edelstein
    What makes the movie such an unexpectedly potent little number is that Adventureland comes to stand for Stagnationland; the real roller coaster (i.e., life) is just outside the park.
    • 76 Metascore
    • 80 David Edelstein
    The film is, finally, a brilliant tap dance over a void: There’s no real drama when the inner life of the female lead is so shrouded, even if that’s the point.
    • 71 Metascore
    • 80 David Edelstein
    For all the artfulness, the feel of the film is rough-hewn, almost primitive. It’s a fabulous tree house of a movie.
    • 86 Metascore
    • 80 David Edelstein
    One job of memoir is to show the world through another's eyes and inspire you to live more alertly, and that is the glory of The Beaches of Agnès.
    • 74 Metascore
    • 80 David Edelstein
    Lynn Shelton's marvelous chamber comedy Humpday butts up against the same sort of taboos as "Brüno," and in its fumbling, semi-improvised way, it’s equally hilarious and even more subversive.
    • 86 Metascore
    • 80 David Edelstein
    Liam Neeson has gravely splendid pipes as Ponyo’s father, a once-human wizard who lives underwater and despises humankind for polluting the planet.
    • 69 Metascore
    • 80 David Edelstein
    Even more than his other genre mash-ups, this is a switchback journey through Tarantino’s twisted inner landscape, where cinema and history, misogyny and feminism, sadism and romanticism collide and split and re-bond in bizarre new hybrids. The movie is an ungainly pastiche, yet on some wacked-out Jungian level it’s all of a piece.
    • 47 Metascore
    • 80 David Edelstein
    Gracefully directed by Robert Schwentke, the film has a perfect performance by Bana, rangy and haunted, never at home in his body.
    • 81 Metascore
    • 80 David Edelstein
    Guilt and alienation from Argentina’s Lucrecia Martel, so arty, enervated, and allegorical it might have been made by a European in the early sixties.
    • 85 Metascore
    • 80 David Edelstein
    The cutting is hyperkinetic, yet Lee is always in synch with the cast’s phenomenal energy. He’s in their thrall--and so are we.
    • 58 Metascore
    • 80 David Edelstein
    However cheeky and blasphemous, this is, at heart, a rather sweet little fable. Which of course would mean nothing if it weren’t explosively funny.
    • 53 Metascore
    • 80 David Edelstein
    If you can get past the craven concessions to formula, though, it’s rather underful--I mean, wonderful. Taking his cues from John Tenniel’s famous illustrations, Burton indulges his delight in disproportion.
    • 60 Metascore
    • 80 David Edelstein
    Sensationally effective.
    • 81 Metascore
    • 80 David Edelstein
    Young Edie Martin, with her chaotic swarm of red ringlets and deadpan dutifulness (she has few lines, but they’re goodies), is the movie’s sign of eternal spring--the butterfly atop the just-opened blossom.
    • 82 Metascore
    • 80 David Edelstein
    At its midpoint, the film could go either way: toward "The Hand That Rocks the Cradle" psychosis or something more hopeful and humanistic. It’s a testament to Saavedra’s tough performance that even with a happy ending, you wouldn’t want to leave her with your kids.
    • 77 Metascore
    • 80 David Edelstein
    The actors playing parents and spouses (among them Steve Buscemi, Halley Feiffer, Portia, and Kevin Hagan) are stunningly believable. I'm not sure how Morton made sense of her character's ebbs and flows, but I never doubted her. She's a mariner in uncharted seas of emotion.
    • 51 Metascore
    • 80 David Edelstein
    In the flawless cast, Williams is the most affecting.
    • 75 Metascore
    • 80 David Edelstein
    Calculated to enrage and pulling it off like gangbusters, Don Argott’s documentary The Art of the Steal pits the legacy of the late Albert C. Barnes’s Barnes Foundation (which boasts arguably the world’s finest collection of French Impressionist and Post-Impressionist art) against the social-climbing, philistine, downright Nixonian machinations of Philadelphia’s wealthiest--who gamed the system and pried the collection loose in defiance of Barnes’s legal will.
    • 62 Metascore
    • 80 David Edelstein
    The first half of The Yellow Handkerchief is the half-movie of the year, and the rest isn’t bad--just more sentimental, more ordinary.
    • 49 Metascore
    • 80 David Edelstein
    This is an extraordinary film.
    • 85 Metascore
    • 80 David Edelstein
    Narrated by Rhys Ifans with the dryness of a dessicated toad, Exit Through the Gift Shop is both an exhilarating testament to serendipity and an appalling testament to art-world inanity.
    • 75 Metascore
    • 80 David Edelstein
    Anton Chekhov's The Duel is convincingly-yes--Chekhovian.
    • 69 Metascore
    • 80 David Edelstein
    It’s smoothly written and smartly paced, and Michael Douglas is riveting.
    • 83 Metascore
    • 80 David Edelstein
    Abrams and his writers (Roberto Orci and Alex Kurtzman) have come up with a way to make you dig the souped-up new scenery while pining for the familiar--a good thing.
    • 65 Metascore
    • 80 David Edelstein
    A senseless blast.
    • 74 Metascore
    • 80 David Edelstein
    As both men lie to loved ones to keep their exchange alive, the tension builds and becomes unbearable.
    • 67 Metascore
    • 80 David Edelstein
    Think "In the Mood for Love" with hookahs instead of chopsticks.
    • 48 Metascore
    • 80 David Edelstein
    There's a thrilling madness to Phoenix's Method.
    • 74 Metascore
    • 80 David Edelstein
    In The Town, he (Renner) doesn't signal that Jem is a sociopath... It's a deeply unnerving performance, beyond good or evil.
    • 79 Metascore
    • 80 David Edelstein
    The poetic Swedish vampire picture (with arterial spray) "Let the Right One In" has been hauntingly well transplanted to the high desert of Los Alamos, New Mexico, and renamed Let Me In.

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